Love on the Dance Floor
by Death Doll Hot Line
Summary: I was enrolled, after years of tears and pain I was enrolled to Tokyo School of Dance. But will it take me many more years to be what I always wanted to be? Who are you? your not helping me reach my goal! ItachixOC
1. TSD

I do not own Naruto.

* * *

It was a regular spring day, sunny and worm. Me and my friend where walking home from school. We where laughing about something that happened in class, when a stretched limo rolled by, this town wasn't used to expensive things, or really high class things. The town I lived in was a small town, nothing really big happens, and when it does, the news is every where. The limo slowed down and the window rolled down.

"Excuse me ladies, I was wondering if you can give me directions." A males head popped out the window. He was young like in his 20, he had lined on either side of his face, and his eyes where pure black. I felt my self shiver from the coldness of this guy. My friend seemed to get her courage back and asked what her was looking form. Surprisingly he asked directions to my house.

"I live there" I said to him. He looked at me and smiled, well slightly.

"Good, is your name Itsuko?" he asked, I nodded my head. He stuck his head back in and the back out, but this time he brought out an envelope, it had my name on it. "in side this envelope will be every thing you need to know about Tokyo School of Dance, good day" he got back in and the limo drove away. I looked down at the envelope.

"You got it, congratulations! Lets open it when we get to your house, then we can through you a party!" Shizuro yelled. Shizuro was, well a party girl, there had to be a party fro everything when it came to her.

"It's fine, no party needed" I said. When I got home, I told mom the good news, and of course she cried. I rolled my eyes at her sappiness. I only lived with mom; dad was usually out of the country for work. We all sat in a circle as I opened the envelope. On the first page it read,

**_Congratulations, you have been selected to have a full scholarship in the Tokyo School of Dance. Itasko, your dorm room will be on the third level number 666. You classes are listed below:_**

_**Ballet: 7:45-9:20**_

_**Modern: 9:30 – 11:00**_

**_Lunch:11:00-11:30_**

_**Math/ English/ Social studies/Science: 11:30 -2:35**_

**_Enjoy. Do be here before the end of the this semester vacation so you can have a tore from one of the students. Once again Congratulations and enjoy your summer, we will see you next semester. _**

_**Sincerely,**_

_**TSD **_

"Wow, this is so cool." I exclaimed.

"Hay this paper, it says, if you get good enough, you will start to have a career as a dancer. Lucky you" Shizuro said.

"well then you should have applied" I giggled.

"Well I did, but I have to pay for my scholarship, but they let me in." she replied smugly. It was quiet for a second be for me and Shizuro squealed and danced around in circles. The next day I was at the school getting a tour from two people, Sakura and Ino, they where really lively girls, and they kept fighting about a guy named Sasuke. They where really odd, odd in a funny way though. I sighed for what seemed like the 100th time to day.

"We aren't boring you are we?" Ino asked. Ino had blond haid, she was tall, and she constantly wore tight leggings. Sakura had bubble gum pink hair. I shook my head no. They both nodded.

"Anyway, so this is where your Ballet class room is here, I didn't know you where an advanced student," Ino trailed off. "Anyway, you have the hardest teacher here," Sakura peeked in and gasped.

"You have Itachi in your class." She said. "Itachi?" I asked. Surprisingly we never saw the door open and someone walked out.

"yes?" I males voice said behind us. We turned around and I found my self staring at a guy that looked like the other guy who gave me the envelope.

"She's the new student for next semester, she's going to be in your class" Sakura said proudly.

"Oh, is she." Itachi razed an eyebrow. Sakura just shook her head yes. "Well, why don't you meet your teacher, and the rest of the gang" he said as he opened the door. He motioned you to fallow him, I peeked in. There where all boys in the class, just great. I thought. Itachi was talking to an older man he nodded his head and then looked at me. I blushed from embarrassment. He told the boys to keep going.

"So, you're Itasko, nice to meet you. Why don't you join the boys for a second or two, I need to see how good you are." He led me inside and motioned for the pianist to stop playing. "All right boys, this is Miss. Itasko, she will be joining us next semester for ballet. Giver her good welcome. All the boys bowed. Creepy class. "Miss. Itasko, do you have your ballet shoes with you?" I nodded. I needed them for a class after the tore of the school. "why don't you slip them on and join us" he said. I put my shoes on and he motioned me to a bar. The bar had two other boys on it. One of the boys went and stood with the other, clearly he was trying to avoid me. "ok, Miss, I need you to do this combination, Batterie, Changement de Pieds, En Dehors En Avant Cabriole, En Dedans Rond de Jambe, Pointe Glissade, and to top it all off a Pas de Bourrée Jeté." He was staring at me when I was done. "well, they said you where good, and I believe when I see it." The teacher said. I bowed to him thanked him and said I had to go.

O0O0O0Time Shift0O0O0O

It was now the end off my vacation, sad as I was to leave my friends and go to a new school, I still had that excitement. It took me ten years of dance in order to get into this school. Sure I was happy, but there was one problem. I was the only girl in all my classes, sure it was strange, but I think it would be a great experience. My firend Shizuro was coming along, due to the fact that she also was accepted, but her classes didn't start as early as mine.

"Itasko, I don't understand what your so worried about, of what I heard, Itachi is one of the best, and you being the only girl in his class, well lets just say you get brownie points" Shizuro joked. Shizuro new I didn't look at guys, I wasn't the one to do that, plus I had no time, with all the dancing I did just to get into the school and be in top classes too.

"Ha Ha very funny, this school is not only about dance, and you know it, you saw yours and my schedule, I have to worry about my grades and the other classes too." I sighed out. Shizuro didn't care much for academic things, but she really was competitive in dance. She and I always competed in every little thing when we where younger, like who can walk faster with out getting caught in the halls, who can throw the ball the hardest, you was better in sports, who can drink soda faster, who can burp the loudest. But now since we are older, it's all about dance. Well for me that is. Shizuro said that she had a boy friend and didn't want to compete for one due to the fact it would be weird. So the only thing we compete for is getting better in dance.

"I will beet you this year, I shall, you hear me Itasko, I will beat you and I will make you suffer this year" Shizuro cackled out.

"Shizuro, you do know that I am in an advanced classes, while your in semi beginner, so technically I'm still beating you." I could help but laugh at the face she was making, it was something between hate, pain and annoyance. Through out the whole time we never noticed some one following us until he said something.

"I presume you girls are rivales?" We both turned around and found Itachi and some of his friends behind him, well I thing they where his friends, I didn't know him too well.

"Actually we aren't, we're friends, just really completive ones" Shizuro answered his question, she new I wouldn't; I was way to shy around boys. He just nodded, and then turned to me.

"You do know your way around here don't you?" he asked.

"Of cores she do-" Shizuro once again started to answer.

"He wasn't speaking to you" one of the boys said behind him. The boy had the same color hair and eyes, only he was shorter in height and hair length. Shizuro just glared at him and he just glared back.

"Back off jerk, I can do some serous damage to your crotch" Shizuro warned him. He looked a little startled and backed off. Shizuro just nodded her head in happiness.

"Well?" he asked.

"I…um…" I started to back away, like I said not very good with boys, and I put the word good loosely.

"Mr. Uchiha, are you tarizing this young lady?" My ballet teacher came up behind me and put a hand on my solder.

"no sir." He answered.

"You better not be boy, you will be in some serous trouble if you where" The teacher said sternly.

"I was only asking a question sir" he defended him self.

"Ok, oh, do me a favor and help Miss. Itasko warm up before class" And he walked off, not really caring if Itachi did it or not.

"Come, I'll show you to the studio" he said and started to drag me a long by my wrist. As we made our way to the studio, I couldn't help but notice that Itachi had a gentile but firm grip on my wrist. "So, you're really competitive with your friends, why exactly?" he turned and started to walkbackwards.

"…" nope, still can't answer him.

"Are you mute?" he asked. I didn't respond to him.

"hmm. Ok, maybe your mute, no that couldn't be. Itachi, do you think so?" The boys from before caught up.

"no, I just think she's shy, plus, she's surrounded by guys, that's probably why." She said. "Right?" he turned to me. I sort of nodded my head 'yes'.

"wow, Itachi, your really good at understanding them. I blushed, most boys never understood me, well or any girl for that matter.

"Dude you made her blush" Another guy pointed out. I don't if this was even possible, but I think I died form embarrassment. He dragged me into a studio and told me to put on my shoes. After I laced them up, Itachi hulled me up to my feat and dragged me to the bar with the rest of the boys.

"ok, um…lets do an Adagio. Ok these are the steps. ( People I will have a page devoted to ballet terminology, so if you get lost look at that page.) Batterie, Cabriole, Choreographer, Développé, Arabesque into Attitude, Ballon Battemen. There do that." He said and sat by the piono, he started to play and so me and the rest of the boys did the Asagio.

* * *

I up dated, but thats it. I'll have a new chapter up soon. Really soon.


	2. This Should Teach Him a Lesson

Sorry for not updating in such a long time. But i think this chapter could keep you entertained for a while, while I go and update the rest.

I do not own naruto

* * *

"Itachi, you are the Danseur. So start acting like it," The teacher bellowed at him. "You are supposed to support the ballerina. Not let her fall. I swear as we get closer and closer to the week of the performance, the more stupid you get." Ok, so there was an up side to being the only girl in the class, I didn't get blamed for half the stuff that was my fault. It was now about seven weeks into the school year and I have been working really hard for the upcoming performance we are doing for a charity, that all the rich folks would be at. "Itachi, hold her here." the teacher yanked Itachi's hands off of me and griped me with his hands. "Boys, come here. While I'm at it I might as well just show you where you should hold a ballerina in En dehors." He held my left hand as I lifted my right leg to the side and made a clockwise circle. As I did that motion he put his other hand on my right hip. "see that boys. Not only are you supporting her, but you are also not constricting her movements. Ok. You can drop that." I sighed as I slowly lowered my leg. "Itachi, go practice in another room with Itsuko." Our teacher waived us off, clearly annoyed that Itachi wasn't getting this.

"Are you trying to make me look bad?" I asked him. He stopped in the middle of the floor in studio next to our class.

"No." was his short answer. He's been ignoring me and giving me short answers since the end of the second week, when we found we had to dance together.

"Then what? Don't you know that our teacher has this bruising grip. Wait you wouldn't because your not the one in his hands are you danseur?" he just glared at me and turned on the music. "you are so…annoying Itachi. I'm your partner for this. And if I bruise any more or hit the floor any more I might just break something. And then I can't dance."

"Is that all you care about? Dancing? God girl you like some dancing machine." he suddenly bellowed at me.

"we'll excuse me for knowing that I am at a dance school." I retorted.

"I know that, but seriously we aren't the only one's going to be performing."

"I know that, but we are the only one's from the ballet section of the school. And I don't want to look like I am ten years old again."

"What does looking like a ten year old have to do with this?"

"The way we are performing now, is how I performed when I was ten. Now you either get you ass up in gear and practice or we will not perform." I was huffing for breath now. I was so pissed off. How could he just be a lazy ass when we where to perform in a couple of days.

"Your friend was right. You strive to far."

"What's wrong with trying to be better than you are now?"

"Um…your attitude. Your constant pestering for practice. That's what!"

"If you didn't want to practice then you should have said no. Now since you don't feel like practicing to day, I'll see you on performance day." I huffed and walked out of the studio. Fine, if he wanted to look like a fool, then he should. I can do, all the stuff we are doing now as partners by myself. This should make him look like a fool on stage and me as a star. One, because I will practice with out him and two because I strive to be better than the last time. So when is performance day you ask, well its in a week. I'll let him enjoy his time of freedom.

O0O0O0Time Shift0O0O0O

The lights and the stage….my stoic pain. Ok, so I was nervous, I normally didn't perform in front of really rich people. I mean these people are like billionaires and they always have money to spend. One of these billionaires people was Itachi's father, wonderful right? No, the idiot never talked to me since I decided we shouldn't practice together. Itachi was currently talking to his father, who might I add was behind stage, and was at the moment pointing at me. Both father and son looked at me, I glared at Itachi and turned around. I was still angry about our fight. He better no make me look bad, because if he did, I would defiantly walk off that stage in front of all those people.

"Itsuko," I heard my name being called by Itachi. What now? "I want you to meet my father." sighing I walked up to him like perfect dainty ballerina should.

"It's a pleasure to meet my sons partner this year. Last year the poor girl fell of stage right before we all had to be here. Poor Itachi never got to go on." he shook my hand.

"I'm sure he won't go on this year either." I stated and glared at him.

"Oh, this isn't good. You mother really wants to see you perform. Now you should settle what ever it is that you two have been arguing about."

"There is no need-" Itachi started to say.

"Yeah, there is no need, for it wouldn't have happened if he had listen to me. Now I hope you don't embarrass your self Itachi because I am not waiting for you to support me when you should. I have been practicing by myself and I hope you know what you are doing." I said and walked off to put my shoes on.

"Ladies and gentlemen. Welcome to our annual charity festival. This year we have a lot of students that are more than willing to perform for us." An applause was heard, short but long enough for the occasion. "For the first dance we will have a pas de deux form Swan Lake, the Black swan pas de deux. Itsuko and Itachi." We both ushered our selves to the upper-left part of the stage. The music came up loud and elegant as we both began the pas de deux. Of course things started out smoothly for the first minute and a half, then it fell apart, well Itachi did. He missed a passé and then forgot to partner me in Pirouette

and by the end I was on the tome for each seconds and he was off. The audience still applauded even though many didn't look happy about the performance.

By the time we got off stage and change out of our costumes and into our formal clothing, it was the end of the showing of the dancers. Itachi's father came strait up to him and started to rant.

"Good, god. She was better off by herself. I don't know what has gotten into you but you have been seriously slaking off in your studies, which I say I don't mind to much, but to slack off in the dancing. Inexcusable. You shouldn't have gone up there if you where going to be that….bad. Your own cousin saw you, you know the one part of the Russian ballet. He was shocked at how stupid and bad you looked up there. But he complimented the ballerina for going on and not looking like she was about to fall apart do to her partners performance." His father was now red in the face for having to with hold his anger and not yell at him in the ballroom of the school.

"You did a wonderful job, both of you." I looked to Itachi's fathers right and found a young woman standing there. I guess that was his mother.

"Thank you." I said bowed slightly and excused my self from the mess I help create. This should teach him a lesson.


	3. Fill In

A LETTER TO YOU DE CODE MASTER

Dear De Code Master,  
You had asked me two questions:

Do you take ballet?  
And where in the world do you get all the terms and definitions?

Yes I do take Ballet, I am not a Ballerina though.  
Terms and definitions…well a Dancer needs to memories many terms and definitions, I also had a little help from a book in my room.

Sorry it took me so long to update. I don't own Naruto.

* * *

Its been two weeks now form the concert and Itachi ignores my presence and refuses to work with me. But that ok, I got a new partner in the class now, Sasori. Sasori doesn't say mush either but when he does say something it usually intelligent.

"Itsuko do you think you could do this?" Sasori looked at me. I shook my head. Who does he think I am some second rate dancer who can't lift her legs?

"I'm sorry, I didn't mean it to sound like an insult. To be honest, I don't think I could support you weight." Oh now he though I was fat.

"Once again not like that Itsuko, I my self don't think I could lift you. I don't have the muscle strength in one arm so its rather hard.

I found out that Sasori lost his left arm in a car accident. He has one of those mechanical ones, but you can't strain it to hard.

"I'm sure we could skip that step or do something else in stead." I didn't care as long as I got to perform. Speaking of performing I had recently learned that my grades were suffering, and the my friend, Shizuro had join our class because she excelled to here.

"Don't cheat now Itsuko." she said behind us.

"I'm not, I just have to make slight adjustments for my partner, nothing big.' Sasori nodded. Well Shizuro got Itachi as a partner, they seemed to be working fine, by working fine I mean Shizuro is doing everything Itachi is telling her to do.

Balance with a slight ballon, into a _à la quatrieme devant_ and then a Changement de pieds and then a Failli. Well this wasn't such a bad combo, minus the fact that I nearly got ran over by Shizuro trying to do a balance with a slight ballon.

"You nearly ran me over Shizuro." I said when I finally reached her.

"Sorry, I'm trying to figure out the steps."

"let me show you."

Classes were like that for the next few months. Then we had another recital coming up. This time we would be performing for the royal family. His daughter apparently got into ballet and wanted to see some dancers and the palace.

So we all worked hard with our partners to get pieces of ballets memorized for her majesty.

* * *

Just a small fill in chapter. But things would happen in the next, I promise you that. Leave a message in the review if you want to have something specific happen or you can e-mail me which ever you want.


	4. Ballet Terms

**A**

**À la seconde**

(aa lah seh kondi) To the side or in second position. _À la seconde_ usually means a step that moves sideways or a movement done to the side such as _grand battement à la seconde_. A technically challenging type of turn is _pirouette à la seconde_, where the dancer spins with the working leg in second position _à la hauteur_. This turn is usually performed by male dancers, and because of the technical skills required to perform it correctly, it is seen as the male counterpart of _fouettés en tournant_.

**Adagio**

ADAGE (French), ADAGIO (Italian)

In music, _Adagio_ means "slowly", and in ballet it means slow, unfolding movements.

In a classical ballet class, the _Adagio_ portion of the lesson concentrates on slow movements to improve the dancer's ability to control the leg and increase extension (i.e., to bring the leg into high positions with control and ease).

In a _Grand Pas_ (or _Classical Pas de deux_; _Grand Pas d'action_; etc.), the _Adagio_ is usually referred to as the _Grand adage_, and often follows the _Entrée_. This _Adage_ is typically the outward movement of the _Grand Pas_ where the Ballerina is partnered by the lead male _Danseur_ and/or one or more suitors.

In ballet, the word _adagio_ does not refer to the music accompanying the dance but rather the type of balletic movement being performed. For example, the _Grand adage_ of the famous _Black Swan Pas de deux_ from Swan Lake is musically an _Andante_, while the choreography is _Adagio_.

**Allégro**

Used to describe fast jumps, e.g. _petit allégro._

**Aplomb**

Aplomb refers to stability of the position.

**Arabesque**

(aa rah besk) Literally, "in Arabic fashion." The position of the body supported on one leg, with the other leg extended behind the body with the knee straight. The back leg may either touch the floor in _tendu_ back (called _arabesque par terre_), or be raised at an angle. Common angles are 45° (also called _à demi hauteur_), and 90° (_à la hauteur_). When the angle is much greater than 90° and the body leans forward to counterbalance the back leg, the pose is called _arabesque penchée_. There are also various arm and leg combinations, such as forward on the same side as the back leg or the other arm forward.

**Arrière**

(aa ree air) French for "back". A step _en arrière_ moves backwards, away from the audience. A movement done to behind the dancer would be termed for instance _grand battement en arrière_.

**Assemblé**

(au sem blay) Sometimes also _pas assemblé_. Literally "assembled". A movement where the first foot performs a _battement glissé_/_degagé_, "swishing" out. With the dancer launching into a jump, the second foot then swishes up under the first foot. The feet meet together in mid-air, and the dancer lands with both feet on the floor at the same time, in third or fifth position.

**Attitude**

Natalia Dudinskaja in _attitude en pointe_

A position in which the dancer stands on one leg (known as the supporting leg) while the other leg (working leg) is lifted and well turned out with the knee bent at approximately 120-degree angle. The lifted or working leg can be behind (_derrière_), in front (_devant_), or on the side (_à la seconde_) of the body. If the leg in _attitude derrière_ is resting on the floor, then the pose is known as B-plus. It is important to note that when executing an _attitude_ position _devant_ or _derrière_, the knee should be in line with the ankle, as if the whole leg would be resting on a surface. The _attitude_ position can be performed with the supporting leg and foot either _en pointe_, _demi pointe_ or on a flat foot. See also: _Arabesque_.

**Avant**

Refers to a direction to the front. A step _en avant_ moves forwards. A movement done to the front would be for instance _grand battement en avant_.

**B**

**Balancé**

(bal an say) French word for "balance". Also called _pas balancé_. It is usually executed in three counts (waltz rhythm). The dancer begins from fifth position, _plié_, then the foot in the back executes a _degagé_ to the second position to end in _plié_ with transfer of weight, while the other foot crosses behind in _coupé derrière_. The dancer steps on the back foot (in 'demi pointe') slightly lifting the front foot and then rocks back with the back foot in _cou-de-pied_ back.

**Ballabile**

**Ballabile** (from the Italian _Ballabile_ meaning "danceable") In ballet the term refers to a dance performed by the _corps de ballet_. The term _Grand ballabile_ is used if nearly all participants (including principal characters) of a particular scene in a full-length work perform a large-scale dance.

**Ballerina**

Italian for "female dancer". Ballerina is a principal female dancer of a ballet company. The male version of this term is danseur.

**Balletomane**

A ballet fan or enthusiast. The word was invented in Russia in the early nineteenth century.

**Ballon**

_Ballon_ means to bounce, where the dancer can show the lightness of the movement. It describes a quality, not the elevation or height, of the jump. Even in small, quick jumps (_petite allégro_), dancers strive to exhibit _ballon_.

**Barre**

A horizontal bar, approximately waist height, used for warm-up and exercises for ballet techniques. The study of ballet, and each class, will commonly start at the barre for everyone. Usually wooden and mounted along a wall, usually with the mirrors, there are also portable barres for individuals or group work.

**Battement**

(bat-mon)

It is a kicking movement of the working leg (i.e. the leg that is performing a technique). _Battements_ are usually executed in front (_en avant_ or _à la quatrieme devant_), to the side (_à la seconde_) or back (_en arrière_ or _à la quatrieme derrière_).

**battement développé** is usually a slow _battement_ in which the leg is first lifted to _retiré_ position, then fully extended passing through _attitude_ position.

**battement fondu** is a _battement_ (usually slower) from a _fondu_ (both knees bent, working foot on the _cou-de-pied_ of the supporting leg) position and extends until both legs are straight. It can be executed _double_.

**battement frappé** is a _battement_ where the foot moves from a flexed position next to the other ankle, and extends out to a straight position, by doing so hitting the floor (the so-called _frappé_). In the Russian school the foot is wrapped around the ankle, rather than flexed and does not strike the floor. In this case, the _frappè_ is given by the working foot striking the ankle of the supporting leg. _Battements frappès_ can be executed _double_.

**battement glissé** is a rapid _battement_ normally taken to 2-3 centimeters off the floor (literally means a "gliding" _battement_). See _battement tendu jeté_.

**battement lent** is a slow _battement_, normally taken as high as possible, which involves considerable control and strength. Both legs remain straight for the whole duration of the movement.

**battement tendu** is a battement where the extended foot never leaves the floor. The working foot slides forward or sideways from the fifth or first position to reach the forth or second position, lifting the heel off the floor and stretching the instep. It forms the preparation for many other positions, such as the _ronds de jambe_ and _pirouette_ positions.

**battement tendu jeté** (Russian school) is a _battement_ normally taken to anywhere from 2 cm off the floor up to 45 degrees, depending on the style. It is the same as _battement dégagé_ (Cecchetti) or _battement glissé_ (French school).

**grand battement** is a powerful _battement_ action where the dancer takes the leg as high as possible, while the supporting leg remains straight.

**grand battement en cloche** is a _grand battement_ which continuously "swishes" forwards and backwards passing through the first position of the feet (literally: large battement with pendulum movement).

**petit battement** is a _battement_ action where the bending action is at the knee, while the upper leg and thigh remain still. The working foot quickly alternates from the _cou-de-pied_ position in the front to the _cou-de-pied_ position in the back, slightly opening to the side.

**Batterie**

A whole family of techniques involving jumps, where the feet cross quickly in front and behind each other, creating a flapping or "beating" effect mid-air and brushing through first position.

Also called _beats_ in the Royal Academy of Dance (RAD) syllabus.

===Brisé===(bre sey) A jump similar to an _assemblé_. One leg is thrust from the fifth position to the second position in the air; the second leg reaches the first in mid-air executing a beat. It is a traveling movement. In other words, the dancer executes an _assemblé_, then, doing a beat, changes fifth positions in the air. The dancer may practice _petits battements_ in preparation for this step.a quick jump that intales a twirl.

**Bras Croisé**

Literally "crossed arms". Arms are placed so that, when the dancer is facing one of the stage corners, one is extended to the second position away from the audience and the other is curved in first position front (Cecchetti forth position _en avant_).

**C**

**Chaînés**

(sheh ney) This is a common abbreviation for _tours chaînés déboulés_, which is a series of quick turns on alternating feet with progression along a straight line or circle. They are also known as _chaînés tournes_. In classical ballet it is done on the pointes or demi-pointes (on the balls of the feet).

**Changement de pieds**

(shanje-mawn duh pyay) Literally "changing of feet". A jump in which the feet change positions in the air. For example, beginning in fifth position with the right foot front, _plié_ and jump, switching the right to the back, landing with the left foot front in fifth position. In the Vaganova's method, _petit changement de pieds_ indicates a _changement_ where the feet barely leave the floor.

**Chassé**

(sha say) Chassé, literally "chased or "hunted". A slide forwards, backwards, or sideways with both legs bent, then springing into the air with legs meeting and straightened. It can be done either in a gallop (like children pretending to ride a horse) or by pushing the first foot along the floor in a _plié_ to make the springing jump up.

**Coda**

Literally "tail". In music, a coda is a passage which brings a movement or a separate piece to a conclusion. In ballet a _coda_ has essentially the same function, though it is always an independent musical movement.

In ballet, a _coda_ is typically the ending, or "finale", of a suite of dances known as the _Grand Pas_ or _Grand Pas d'action_, and brings the suite to a close. A _coda_ also serves the same function in a _Classical Pas de deux_, etc.

A _coda_ can take many forms. For a large or complex _Pas d'action_ or _Grand Pas_, the _coda_ is usually given the title _Grand coda_. If a large group of dancers are in involved, it is usually titled _Coda générale_. The _coda_ may serve also as the final number of a particular scene, in which case it is usually given the title _Grand coda générale_.

In ballet there are many famous _coda_. One in particular is for the _Black Swan Pas de deux_ from _Swan Lake_, in which the Ballerina performs the famous 32 fouettés en tournant. Another celebrated _coda_ is from the _Le Corsaire Pas de Deux_.

**Corps de ballet**

(corr de ballay).The ensemble of a ballet company; especially, the ensemble apart from the featured dancers.

**Croisé, croisée**

(qua zey) Meaning: crossed. One of the directions of _é__paulement_. The dancer stands facing one of the corners of the stage; his/her body is placed at an oblique angle to the audience. The leg may be crossed to the front or to the back.

_Croisé_ is used in the third, fourth and fifth positions of the legs. The dancer is in _croisé_ if the front leg is the right leg, and the dancer is facing the front-left corner of the stage; or if the front leg is the left, and the dancer is facing the front-right corner, then the dancer is in _croisé_. In _croisé_ position the dancer should be aligned so that the audience can see both his/her shoulders and hips.

**D**

**Demi Detourne**

(dem ee deh torney) A half turn

**Danseur**

(dan=SE=ur) A male ballet dancer. The female version is ballerina.

**Dégagé**

Also known as _pas dégagé_. It consists in the pointing of the foot from a closed position to an open position, with the heel raised and the instep stretched.

**Demi**

(dem-EE) Half, or small. Applied to _plié_ and _pointe_ and other movements or positions to indicate a smaller or lesser version.

**Derrière**

(derry air) At or to the back side. For example, a _battement tendu derrière_ is a _battement tendu_ taken to the rear.

**Dessous**

(dessoo) Literally "under". Used where the front leg is brought to the back, in techniques such as the _assemblé_, _pas de bourrée_, and _glissade_.

**Dessus**

(deh syoo) Literally "over". Used where the back leg is brought to the front, in techniques such as the _assemblé_, _pas de bourrée_, and _glissade_.

**Devant**

Literally "front". For example, _tendu devant_ would mean stretching the foot to the front, or _attitude devant_ would mean executing an _attitude_ to the front.

**Développé**

(de vell lo pay) A common abbreviation for _battement développé_. A movement in which the leg is first lifted to _retiré_ position, then fully extended passing through _attitude_ position. It can be done in front (_en avant_), to the side (_à la seconde_), or to the back (_derrière_).

**Double**

(doobl) Making two of the movement, such as in _double battement fondu_ and _double rond de jambe en l'air_.

**E**

**Échappé**

(eh sha PAY). Literally "escaped". A movement done from a closed (first or fifth) position to an open (second or fourth) position. There are two kinds of _échappés_: _échappé sauté_ and _échappé sur le pointes_ or _demi-pointes_. In an _échappé sauté_, the dancer takes a deep _plié_ followed by a jump in which the legs "escape" into either second (usually when starting from first position) or fourth position (usually when starting from fifth position), landing in _demi-plié_. In _échappé sur le pointes/demi-pointes_ the dancer, after taking a deep _plié_, springs onto _pointes_ or _demi-pointes_, ending in either second position (when starting from first position) or fourth (when starting from fifth) with knees straight. In all cases, the dancer may or may not return to the initial position, depending on the choreography.

**Effacé, effacée**

(ef fah say) Literally "shaded". One of the directions of _épaulement_ in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed _ouvert_ in the French method. _Effacé_ is also used to qualify a pose in which the legs are open, not crossed. This pose may be taken _devant_ or _derrière_, either _à terre_ or _en l'air_. If the front leg is the right, and the dancer is facing the front-right corner of the stage, he is in _effacé_; or, if the front leg is the left and she is facing the front-left corner, she is in _effacé_. This position is the opposite of _croise_.

**Elevé**

(ay-leh-VAY). Literally "rise". A _relevé_ without the _plié_, so that the dancer simply rises directly to _demi_ or _pointe_ from flat feet all the way to the balls of the feet.

See Relevé.

**En**

(AHN.) Literally "in". This term is usually used to describe the position in which the dancer is situated; i.e. _en plie_, _en rélevé_, _en pointe_.

**En croix**

(ahn cwa) Meaning "in the shape of a cross." This term is usually used when doing barre exercises such as _battement tendu_ and _battement frappé_. The required movement is done to the front, then the side, then back and then again to the side (a cross shape).

**En dedans**

(on de dons) Movement within a circle so that the leg starts at the back or the side and moves towards the front. For the right leg, this is a counter-clockwise circle. For the left leg, this is a clockwise circle. For instance, in a _ronds de jambe en dedans_, starting from first position, the foot (either left or right) would first reach _tendu_ back, then move to _tendu_ to the side and then front, to end again in first position.

It is also considered an inside movement: in a _pirouette en dedans_ the dancer spins towards the side of the supporting leg.

The opposite is _en dehors_.

**En dehors**

(on **day** OR) Literally "outwards". Movement within a circle so that the leg starts at the front or the side and moves towards the back. For the right leg, this is a clockwise circle. For the left leg, this is a counter-clockwise circle. For instance, in a _ronds de jambe en dehors_, starting from first position, the foot (either left or right) would first reach _tendu_ front, then move to _tendu_ to the side and then back, to end again in first position.

It is also considered an outside movement: in a _pirouette en dehors_ the dancer spins towards the side of the working leg (the leg raised in _passé_). _En dedans_ is the opposite.

**Entrechat**

(on ter shaa) Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other, usually jumping from the fifth position and landing back in the fifth position. _Entrechats_ are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an _entrechat quatre_ each leg makes two distinct movements. _Entrechats_ are divided into two general classes: the even-numbered _entrechats_, or those which land on two feet -- _deux_, _quatre_, _six_, _huit_ and _dix_ -- and the odd-numbered _entrechats_, or those which land on one foot -- _trois_, _cinq_, _sept_ and _neuf_.

For example: in an _entrechat-quatre_ starting from fifth position, right foot front, the dancer will jump crossing his/her legs and beating first the right heel on the back of the left heel, then at the front of the left heel, landing in the same position he/she started.

**Entrée**

In ballet, the term _Entrée_ has two meanings:

_Entrée_ can refer to the opening number in a suite of dances known as the _Grand Pas_ (or _Grand Pas d'action_; _Classical Pas de deux_; etc.) The _Entrée_ typically precedes the _Grand adage_, and is typically a short number which serves as an _introduction_ for the suite. One famous _Entrée_ is the opening number of the famous _Paquita__ Grand Pas Classique_, in which the lead Ballerina and the _corps de ballet_ perform a waltz. Another famous _Entrée_ is the opening waltz to the _Black Swan Pas de deux_ from _Swan Lake_. When the term _Entrée_ refers to the opening number of the _Grand Pas_, etc., it is referred to in musical terms as the _Intrada_.

_Entrée_ can also mean a number in which the lead character or characters of a ballet make their initial appearance on stage. One famous _Entrée_ occurs in the first act of the Petipa/Tchaikovsky ballet _The Sleeping Beauty_, in which the Princess Aurora makes her _Entrée_ during her birthday celebrations. Another occurs in the first act of the Petipa/Minkus ballet _La Bayadère_, in which the temple dancer Nikiya makes her entrance during the festival of fire. The opening harp candenza of the celebrated _Le Corsaire Pas de Deux_ serves as the musical _Entrée_, as the _Danseur_ also makes his _Entrée_ before the _Grand adage_.

**Épaulement**

(ay paul mawl) Literally "shouldering". Rotation of the shoulders and head relative to the hips in a pose or a step.

**F**

**Failli**

(FAY-lee). The dancer springs into the air, landing on the front foot with the back foot raised. The back foot then slides through to the front. During the spring the body is turned slightly inwards towards the front foot with the face turned away.

**Fondu**

(FON-doo). Literally "to melt". Abbreviation for a _battement fondu_.

**Fouetté**

(fweh TAY). Literally "whipped". The term indicates either a turn with a quick change in the direction of the working leg as it passes in front of or behind the supporting leg, or a quick whipping around of the body from one direction to another. There are many kinds of _fouetté_: _petit fouetté_ (_à terre_, _en demi-pointe_ or _sauté_) and _grand fouetté_ (_sauté_, _relevé_ or _en tournant_). An introductory form for beginner dancers, executed at the _barre_ is as follows: facing the _barre_, the dancer executes a _grand battement_ to the side, then turns the body so that the lifted leg ends up in _arabesque_ position.

**Fouetté jeté**

(fweh-TAY jeh-TAY) literally "whipped throw". A leap which starts as a _fouetté_ and then the second leg also kicks in front.

**Fouetté rond de jambe en tournant**

(fweh-tay ron de jon on torhn non) A turn made by using a _fouetté_. For each turn the dancer stands momentarily on flat foot and in _plié_, as the working leg is extended in fourth position _en l'air_ (or _à la hauteur_) front then whipped around to the side as the working foot is pulled in to touch behind the supporting knee. That creates the impetus to spin one turn as the dancer executes a _relevé_, rising onto _pointe_. Done properly, the dancer remains in place. The famous 32 continuous _fouettés_ in the coda of the "Black Swan" _Pas de Deux_ from Swan Lake are a bravura performance designed to express the strength and triumph of the character.

In the Vaganova method, the leg is extended _à la seconde_ instead of fourth position front.

**Frappé**

(frah pay). Literally "hit" or "strike". See _Battement_ _frappé_ describing hitting the floor or an ankle with a moving foot.

**G**

**Glissade**

(glee sahd) Literally, to slide. This is a traveling step starting in fifth position with _demi-plié_: the front foot moves out to a point, both legs briefly straighten as weight is shifted onto the pointed foot, and the other foot moves in to meet the first. A _glissade_ can be _en avant_, _en arrière_, _dessous_, and _dessus_.

**Grand Pas and Grand Pas d'action**

Literally, big or large step. A _Grand pas_ is a suite of individual dances that serves as a showpiece for lead dancers, demi-soloists, and possibly the _corps de ballet_. In the context of a full-length ballet the _Grand pas_ is considered a _Pièce de résistance_. The _Grand pas_ is merely a display of dance, and in no way contributes to the ballet's story.

If the _Grand pas_ does contribute to the ballet's story, then it is known as a _Grand Pas d'action_.

When a _Grand Pas_ is referred to as a _Grand pas classique_, it simply means that classical technique prevails and no character dances are included.

A _Grand pas_ usually consists of the _Entreé_, the _Grand adage_, occasionally a dance for the _corps de ballet_ (often referred to as the _Ballabile_), optional variations for the demi-soloists, variations for the lead Ballerina and/or _Danseur_, and a final _coda_ (sometimes referred to as a _Coda générale_ or _Grand coda_) which serves to bring the whole piece to a grand conclusion.

One famous _Grand Pas_ was created by Marius Petipa in 1881 for his revival of Joseph Mazilier's ballet _Paquita_. This is known today as the _Paquita Grand Pas Classique_, and is danced by many companies throughout the world.

A rather elaborate _Grand Pas_ is taken from the 1862 Petipa/Pugni ballet _The Pharaoh's Daughter_, which was revived in 2000 after decades of being absent from the stage. The dances are presented in Petipa's original order: _Entrée_, Variations for 3 demi-soloists, _Grand adage_, _Waltz_ for the _corps de ballet_, variations for the three lead soloists, and the final _Coda générale_.

There are many famous _Grand Pas d'action_ as well, one being from the first act of the 1890 Petipa/Tchaikovsky ballet _The Sleeping Beauty_. This consists of the famous _Grand adage_ known as the _Rose Adagio_, a _Dance for the Maids of Honor and Pages_, the _Variation of the Princess Aurora_, and the _Coda_, which is interrupted by the evil fairy Carabosse who gives the Princess Aurora the poisoned spindle. In the context of the full-length ballet, this particular _Grand Pas d'action_ helps contribute to the action, with the Princess Aurora choosing between her four prospective princes and receiving a rose from each.

Many _Grand Pas_ and _Grand Pas d'action_ are often extracted from full-length works and performed independently.

Differing forms of a _Grand pas_ —

-_Grand pas de deux_ – a _Grand pas_ which serves as the _Pièce de résistance_ for the principal male and female characters of a full-length ballet. When more soloists are included, then the title changes thusly: _Pas de trois_, _Pas de quatre_, etc.

-_Grand pas classique_ – when the _Grand pas_ consists of no character numbers and only serves to demonstrate classical technique.

-_Grand ballabile_ – when the _Grand pas_ serves as a showpiece for not only soloists but for a large _corps de ballet_.

**Grand plié**

(grahn pli AY) A full _plié_, or bending of the knees. The back should be straight and aligned with the heels, and the legs are turned out with knees over the feet. As a movement, it should be fluid. It may also be in preparation for another movement such as a leap.

**Grand jeté**

(grahn jeh TAY) A long horizontal jump, starting from one leg and landing on the other. It is most often done forward and usually involves doing full leg splits in mid-air. The front leg brushes straight into the air, as opposed to performing a _dévelopé_ or "unfolding" motion. The back leg follows making the splits in the air. Also called _grand écart en l'air_, and referred to in some schools as _Saut de chat_, or _Grand Pas de Chat_. It can be performed _en avant_ (forward), _à la seconde_ (to the side), _en arrière_ (backward), and _en tournant_ (turning en dedans).

**J**

**Jete**

**Jete** (jeh tay) is a type of jump from one foot to the other ( like a leap). Usually started off with a strong chase.

**O**

**Ouvert, ouverte**

Open or opened. It indicates certain positions of the body or the limbs; for instance the second and fourth positions are _positions ouvertes_. In the French school it also indicates a direction of the body similar to _éffacé_.

**P**

**Partnering**

In general, partnering is an effort by both the male and female dancers to achieve a harmony of movement so that the audience is unaware of the mechanics to enjoy the emotional effects. Also known as _pas de deux_, or dance for two.

For a male dancer, partnering includes lifting, catching, and carrying a partner, also assisting with leaps, promenades and supported pirouettes. For a female dancer, partnering means helping with that help.

**Pas**

(pah) Literally, "step". In ballet, the term _pas_ often refers to a combination of steps which make up a dance (typically, in dance forms such as jazz, hip-hop, tap, etc., this is called a _routine_). _Pas_ is often used as a generic term when referring to a particular suite of dances, i.e. _Pas de deux_, _Grand Pas d'action_, etc., and may also refer to a variation. The use of the word _Pas_ when referring to a combination of steps which make up a dance, is used mostly in Russia, and much of Europe, while in English speaking countries the word _combination_ may be used.

**Pas de basque**

"step of the Basques". Halfway between a step and a leap, taken on the floor (_glissé_) or with a jump (_sauté_); it can be done moving toward the front or toward the back.

The dancer starts in fifth position _croisé_ and executes a _plié_ while brushing the front leg out to _tendu_ front. The front leg does a _demi rond de jambe_ to the opposite corner in the back while the dancer turns to face the other front corner. The weight is quickly transferred onto the working leg (the one that was front). The dancer brushes the supporting leg through first position and then executes a _chassé_ forward onto the supporting leg and closes in _croisé_.

**Pas de bourrée**

It consists of three quick steps. When done _à la seconde_ the feet usually change positions (right left right).

**Pas de chat**

"dance of the cat". The dancer jumps sideways, and while in mid-air, bends both legs back to touch the feet to the buttocks, with knees apart. The Dance of the Cygnets from Swan Lake involves sixteen _pas de chat_, performed by four dancers holding hands with their arms interlaced. A jump. _Leap_ off the left leg, starting from a plié and **raising** the right leg into retiré. In midair, raise the left leg into retiré, too, so your legs form a diamond shape in the air. Land on the right leg with the left leg still in retiré; then bring it down, landing in another plié.

**Pas de chat, grand**

A jump similar to a _grand jeté_ where the leg extends to the front with a _developp__é_.

**Pas de cheval**

"dance of the horse". The dancer does a _coupé_ then a small _developpé_ and _tendu_ back into starting position.

**Pas de deux**

(pah de duh) meaning "step of two". _Pas de deux_ is a duet usually performed by a female and a male dancer. A famous _pas de deux_ is the Black Swan _pas de deux_. See also Pas de deux.

**Pas de poisson**

"step of the fish". Same as _temps de poisson_. This is a type of _soubresaut_, or a jump without change of feet. From fifth position, the dancer executes a deep _demi plié_ and jumps arching the back with the legs straightened behind, so that the whole body is curved like a fish jumping out of water.

**Pas de valse**

"waltz step". A traveling step done to music in 3/4 time, either straight or while turning (_en tournant_).

**Passé**

(pahs sey) As a position _passé_ means when a foot is placed near or on the other knee.

As a movement _passé_ refers to the working foot passing close to the knee of the standing leg. When the foot arrives by the knee, it passes from the front to the back or back to front, and continues either to return to the floor by sliding down the supporting leg or into an _arabesque_ or _attitude_ etc.

See Retiré.

**Petit saut**

(peh ti soh): small jump, in which the feet do not change positions in mid-air; also called _temps levé sauté_ in the Vaganova method.

**Piqué**

(pii kay) Literally "pricked". A movement in which the strongly pointed toe of the lifted and extended leg sharply lowers to hit the floor then immediately rebounds upward. Same for some as the term _point__é_.

Also a movement in which the dancer transfers a stance from one leg in _plié_ to the other leg by stepping out directly onto _pointe_ or _demi-pointe_ with a straight leg; for example, a _piqué arabesque_.

**Pirouette**

_For more on the __equestrian__ movement, see __pirouette (dressage)__._

(pii roh ett) A controlled turn on one leg, starting with one or both legs in _plié_, rising onto _demi-pointe_ (usually for men) or _pointe_ (usually for women). The other leg can be held in _retiré_ position, or in _attitude_, _arabesque_ level or second position. The pirouette can return to starting position, or finish in _arabesque_ or _attitude_ positions, or proceed otherwise. A pirouette can be _en dehors_ turning outwards toward the back leg, or _en dedans_ turning inwards toward the front leg. Most, and the one we think of as typical, are done _en dehors_. While ballet pirouettes are performed with the hips and legs rotated outward ("turned out"), it is common to see them done with an inward rotation ("parallel") for other genres of dance, such as jazz and modern.

A correct turning technique involves the execution of a periodic whipping movement of the head, so that the dancer keeps his/her gaze on a single spot; this technique is known as "spotting". This is particularly relevant in the traveling turns, such as _tours chaînés_ or _piqués_, because it helps the dancer to keep the correct direction of movement.

_Pirouettes_ can be done with a single, a double, a triple rotation, or more. The current record for most pirouttes performed at one time equals 36 rotations, done in tap shoes.

**Plié**

(plee ay) Literally "bent". A smooth and continuous bending of the knees.

This can be _grande-plié_, a bend to the deepest position where the heels lift off of the floor. For _demi-plié_ the dancer bends knees until just below the hips, while maintaining classical turn-out at the hip joints, allowing the thighs and knees to be directly above the line of the toes and the heels to stay on the floor.

**Pointe work**

Performing steps while on the tips of the toes.

**Port de bras**

(por d'brah) Literally "carriage of the arms". Sometimes misspelled "porte-bras". Movement of the arms to different positions. The basic _port de bras_ exercise moves from _bras bas_ to first arm position, to second arm position, then back down to _bras bas_. A full _port de bras_ moves from _bras bas_ to fifth overhead and back down.

**Posé**

A term of the Cecchetti school. From a _fondu_, the dancer steps with a straight leg into _demi-pointe_ or _pointe_, then brings the working leg into a _coupé_, so that, if the step is repeated, the leg will execute a _petit developpé_. This can be done in any direction or turning (this is also known as _tour piqué_).

**Positions of the arms**

There are two basic positions for the arms. In one, the dancer keeps the fingers of both arms almost touching to form an oval shape, either almost touching the hips, or at navel level, or raised above the dancer's head. In the other, the arms are extended to the sides with the elbows slightly bent. These positions may be combined to give other positions.

Names differ according to the school/method followed, such as Vaganova, French, Cecchetti, etc., so that a third Russian position is the equivalent to a Cecchetti fifth position _en haut_.

**Positions of the feet**

The basic five positions of the feet on the floor were set down by the dancing master Pierre Beauchamp in the late 17th century. Two more positions were introduced by Mr. Serge Lifar during his career as Ballet Master at the Paris Opéra Ballet (1929–45, 1947–58); their use nowadays is mostly limited to Lifar's choreographies.

**First position**

The dancer stands with feet well rotated in "turn-out" and touching heel to heel, making as nearly a straight alignment as possible. The knees are also touching with legs straightened. Proper turn-out requires flexibility at the hips and correct posture, and is a fundamental characteristic of classical ballet. In beginners' classes, most exercises at the barre start from first position.

1st position with pointe shoes.

**Second position**

The dancer stands with feet turned out along a straight line as in first position, but with the heels about one foot apart. The term _seconde_ generally means to or at the side.

2nd position with pointe shoes.

**Third position**

The dancer's feet are aligned to the turn-out of first position, but with one foot to the front and the heel of the front foot close to the arch of the back foot. There are two third positions, depending on which foot is in front. In beginners' classes it is a transition position in the progress to fifth position, or when a dancer is physically incapable of a perfect fifth position (especially in adult beginners' classes).

(no photo)

**Fourth position**

Fifth position, but with feet about a foot apart to the front. If the heel of the front foot is in line with the heel of the back foot, that is called "open" fourth. There are two main fourth positions, depending on which foot is in front.

4th position with flat shoes.

**Fifth position**

The dancer stands with feet turned out as in first position, but the heel of one foot is placed close to the toe of the other foot, so that the legs are crossed more than third position. There are two fifth positions, depending on which foot is in front.

5th position with pointe shoes.

**Sixth position**

Although not used much, there is a sixth position for normally parallel feet. For example, in _pas couru sur les pointes en avant_ or _en arrière_, the feet are in sixth position. This position was codified by Serge Lifar.

**Seventh position**

The dancer's feet are in fourth position en point with heels in line, according to Serge Lifar. There are two seventh positions, depending on which foot is in front.

**Pulling Up**

Pulling up is critical to the success of a dancer because without it, the simple act of rising up would be extremely difficult. It involves the use of the entire body. To pull up, a dancer must lift the ribcage and sternum but keeps the shoulders relaxed and centered over the hips which requires use of the abdominal muscles. In addition, the dancer must tuck under and keep their back straight as to avoid arching and throwing themselves off balance.

**R**

**Relevé**

(reh leh VAY) Literally "lifted". Rising from any position to balance on one or both feet on at least _demi-pointe_ which is heels off the floor or higher to full pointe where the dancer is actually balancing on the top of the toes, supported in toe shoes. Smoothly done in some versions, a quick little leap up in other schools.

See Elevé.

**Retiré position**

(reh tee ray) The working leg is raised to the side, with knee sharply bent so the toe is pointed next to the supporting knee (front, side, back). Common pose during standard pirouette, intermediate position for other moves. Also called _raccourci_ (ra-koor-SEE) in the French school.

**Retiré devant**

The working leg is raised just in front of the knee cap (but can be raised higher) and is sharply bent and "turned out" to the side. It is a common pose during standard pirouette both _en dedans_ and _en dehors_, and an intermediate position for other moves, such as _battement développé_ front.

**Rond de jambe**

(ron deh ja mm) Literally "circle of the leg". Actually, half-circles made by the pointed foot, returning through first position to repeat; creating the letter 'D' on the floor. From front to back _rond de jambe en dehors_, or from back to front _rond de jambe en dedans_.

**Rond de jambe à terre**: straightened leg with pointed toe remaining on the ground to sweep around.

**Rond de jambe en l'air**: in the air. The leg is lifted to the side, movement is only below the knee. If the thigh is horizontal, the toe draws an oval approximately between the knee of the support leg and the second position in the air. If the thigh is in the lower _demi-position_ then the oval is to the calf of the support knee.

**Rond de jambe attitude**: the leg is swung around into attitude position as the dancer goes en pointe.

**Demi-grand rond de jambe**: the leg is straightened and sustained horizontal to make the circle to the side. If not reversed, foot returns past the knee.

**Grand rond de jambe**: the leg is straightened and sustained at _grand battement_ height, with the foot making the circle high. Requires advanced "extension" flexibility and strength. If not reversed, foot returns past the knee.

**S**

**Step hop and run**

**Saubresaut**

A term of the Russian and French schools; it indicates a sudden spring or jump from both feet, traveling forward in either _croisé_ or _effacé_ position and landing on both feet in the same position as they started.

**Saut**

(soh) Literally "jump". As adjectives, _sauté_ (masc.) or _sautée_ (fem.) (soh TAY) are used to modify the quality of a step: for instance, _échappé sauté_ indicates an _échappé_ performed while jumping.

**Saut de chat**

(soh duh shat): in the French school, the term indicates a step similar to the Italian _pas de chat_, where the working foot is brought to _raccourci derrière_ instead of being raised to the side of the knee, and the landing is done on _fondu_ on the leg that started the movement, while the other leg is in _raccourci devant_. The raised foot is then lowered to fifth position front.

**Second position, **_**seconde**_

Any position with parts separated to the side.

**Sickle**

A term that refers to the reverse of a turnout. It occurs when the dancers ankle is facing inward as well as the toes, creating a D-like shape. It is also notably harmful to one's instep when performed repeatedly.

**Soutenu en tournant**

(sue teh noo) Similar to _tours chaînés_, a _soutenu_ is a series of turns in quick succession. The dancer must first execute a _demi plié_ while extending the leading leg in a _tendu_ position and then stepping up on a tight leg and beginning the turn while simultaneously bringing the other leg up to a raised position while finishing a full 360 degree turn.

**Sous-sus, Sus-sous**

(soo-SEW). Typically executed from fifth position, a dancer rises up onto the _pointes_ or _demi-pointes_ with the feet touching and ankles crossed in a particularly tight fifth position _relevé_. This can be performed in place or traveling forward, backward or to the side. At the barre after the _plié_ exercises is part of the warm up for center pointe work. _Sous-sus_ is a term of the Cecchetti school, while _sus-sous_ is used in the French and Russian schools.

**T**

**Triple Runs**

**Tendu**

(tohn dew) Literally, "to stretch"; a common abbreviation for _battement tendu_.

**Temps levé**

A term of the Cecchetti method, meaning 'time raised', or 'raising movement'. This is a hop from one foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the _demi-plié_.

In the Cecchetti method the term also means a spring from the fifth position, raising one foot _sur le cou-de-pied_. In the Russian and French schools this is known as _sissonne simple_.

**Temps levé sauté**

(tah-lev-A-sot-A)(pronounce the A's as a short vowel.)

A term of the Russian school, meaning 'time raised jumped'. It can be done in first, second, third, fourth or fifth position. The dancer, after a _demi-plié_, jumps in the air and then lands with the feet in the same position as they started. It can also be performed from one foot, while the other keeps the same position it had before starting the jump (e.g. on _cou-de-pied_).

**Tours en l'air**

(toor an lair) Literally "turn in the air". A jump, typically for a male, with a full rotation. The landing can be to both feet; on one leg with the other extended in _attitude_ or _arabesque_; or down to one knee, as at the end of a variation. A single _tour_ is a 360° rotation, a double is 720°. Vaslav Nijinsky was known to perform triple _tours en l'air_.

**Tombé**

(tohm bay) Typically a beginning movement. For a _tombé en avant_, the dancer begins with a _coupé_ front and then, after extending the leg from the _coupé_ in fourth position front (or second or fifth back, if the _tombé_ is to be done on the side or backward), switches the weight distribution and leans on the extended leg, which is placed on the floor in a deep _pli__é_. This leaves the working leg straightened but lifted slightly off the floor. Often this movement is used before executing traveling steps such as a _pas de bourrée_.

It is also possible not to perform the _coupé_ at the beginning of the movement, but rather reach the fourth position front directly from fifth position with a little 'sliding' hop.


End file.
